He got out of a sleek black and silver bus. Wearing a green sweat shirt with the pointed hood pulled over his head reminiscent of the prize fighter he once wrote about in "Hurricane," Bob Dylan, alone, entered the backstage area of the Frank Irwin Center in Austin on Sunday night, ready for his sound check. My view from the fence that surrounded backstage also allowed me to hear a few more stories.
One young woman going to school in Denton said, "I met him in Houston. He was just standing outside his hotel room smoking a cigarette. He told me to ask for Mark here in Austin and I could have tickets for the show. We had a great time with him in Houston He's very nice."

Another young man, a teacher, said, "We saw him at the hotel this afternoon. He was taking a walk by the lake with his bodyguard. When he walked by us, he sort of waved. I'm a freelance writer, and I want to see the show. I also have to teach in the morning."

I was attending my 15th Bob Dylan concert with Daria, a Schreiner honors student from the Czech Republic. I had played her all the Bob Dylan I discovered when I was eighteen on the ride to Austin. Ray Benson walked by (Asleep at the Wheel), carrying a guitar case. After she met Ray I informed her, you just met a Grammy winner and the leader of the best Western Swing band in the country. I do love sharing the music I love with others. It was her first concert in the United States. An aside: when I arrived home I had the message on my phone that the YO Social Club just signed Asleep at the Wheel for the annual September YO Social Club party. Syncronicity.

Our seats were good. We settled in for the first song that began promptly at 7:30 p.m. A huge white symbol of a crown over an eye covered the back of the stage, the same symbol on the t-shirt I was wearing from a concert in 2000. Someone touched my shoulder, saying, "Look at this crowd then look up diversity in the dictionary." It was Bently James, an Apache songwriter who wants me to hear his music. We shared a few Dylan stories. "This is my fifth concert. I have a son named Dylan; I've really been looking forward to this."

To a classical fanfare of some sort, Dylan took the stage, the same bounce evident in his walk that I saw earlier. Dressed in black with a funky black cowboy hat, Dylan seemed to bounce and rock throughout his set, which started at 7:30 p.m. and ended about 10:30 p.m.. Non-stop Dylan.

I never heard a tune I recognized, although I did hear words I knew. Rather than bring out the old standards, Dylan rewrote the standards. I've seen him do this many times. Thanks to two encores, we heard 20 songs. The finale was a familiar but new version of "Blowin' in the Wind." He began with a wonderful acoustic folk version of "Boots of Spanish Leather," the music rolling behind his words with unstoppable rhythm. Charlie Sexton, an Austin guitar prodigy, is still touring with Bob. We also heard mandolin, banjo, steel guitar (Did they borrow one of Ray's?) and absolute rocking bass from Tony, who's been playing with Bob since I saw them at the Montreux Jazz Festival one July years ago.
Dylan's folk roots were close to the surface even as he moved into a rhythmic rock set, so rhythmic that our hearts all entrained and the beat filled the auditorium. At least, that's the way it felt. All one heart beating together. I'll have to buy the new CD, "Love and Theft," to get all those words I love. February 24th in Austin was an evening of throbbing, oceanic, pulsing sound. "He who is not busy being born is busy dying." I heard those favorite words of mine.

The three guitars that gave us this wall of sound varied from song to song. We heard the signature Sexton electric leads and the awesome acoustic harmony of three guitars and three voices. I only wanted to request "My Blue-Eyed Jane," the Jimmie Rodgers song he recorded on his tribute album to Jimmie in 1997. I don't think I heard that one, although I could have missed it. So many new and original sounds.

We heard a country version of "I'll Be Your Baby Tonight," some rockabilly, and many harmonica solos. Some songs brought the Broken Spoke Dance Hall to mind, others reminded me that Dylan does, indeed, like the poetry of Rimbaud.

I thrilled to the circle of white light that surrounded Dylan and the stage. It went blue during his classic rendition (and new rendition) of "Tangled Up in Blue." They rhythm of this song pounded like waves on the beach during a storm. I played the original version for Daria on the way home so she could really hear the poetry.

We sang along to "Everybody Must Get Stoned," talking of the way our culture stones those who are different. The finale grew with another singalong, "Like a Rolling Stone," and "Blowin' in the Wind." I noticed the silence in that auditorium, faces on the young and old rapt with attention. Everyone moved and danced as Dylan rocked. The show was his final show on this tour. His spirit seemed playful and jaunty. The Dwight Yoakum moves reminded us that Dylan likes to rock and roll. Full body participation this performance.

Our huge rock moment came as we ended with "All Along the Watchtower," a song Jimi Hendrix took to new heights. I remember going to a Dylan concert with Thom Steinbeck and watching him drop to his knees during that song. It reminded him of his experience in Viet Nam. I remember hearing Flaco Jimenez join Dylan in Montreux, Switzerland. Ah, the memories keep surfacing.

If I had to point to one influence, one songwriter who was there at the beginning, one voice that spoke to my heart, that one would be Bob Dylan. Yep, whenever he comes to Texas I'll be at the show! "Who moves you like that?" I ask my students.

Dylan seemed moved by the Austin reception. After two encores, he looked out at the crowd standing and applauding. He dropped to his knee, acknowledging the audience. In 1964 he wrote liner notes that said, "Woody Guthrie taught me that no man is an idol." Dylan paid homage to the audience before leaving the stage. He still does not accept the role of idol.

I'm still asking Dylan to come help us celebrate the life of Jimmie Rodgers here in Kerrville! Stranger things have happened so I just keep asking.

House Concert March 2 with The Blue House from Australia. Call Jack Fields in Shalako Estate for ticket information. Free Leonard and down the road.

Kathleen
kat@maverickbbs.com
www.texasheritagemusic.org

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